Saying that cultural objects have value is like saying that telephones have conversations.
BRIAN ENOI love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
More Brian Eno Quotes
-
-
The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
BRIAN ENO -
I wanted to use the studio like a microscope for sound, which is what good engineers do.
BRIAN ENO -
I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
BRIAN ENO -
A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
BRIAN ENO -
Look closely at the most embarrassing details, and amplify them.
BRIAN ENO -
I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
BRIAN ENO -
I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
BRIAN ENO -
Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
BRIAN ENO -
The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
BRIAN ENO -
In my normal life I’m a very unadventurous person.
BRIAN ENO -
Most game music is based on loops effectively.
BRIAN ENO -
What matters in modern music is not the part you can write down, the words and the tune, but the rest – the texture, the atmosphere, the references and associations.
BRIAN ENO -
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
BRIAN ENO -
The biology of purpose keeps my nose above the surface.
BRIAN ENO -
The seven white notes on the piano – each section of the piece (there are 12 sections) is five of those seven white notes.
BRIAN ENO